A typology of community and stakeholder engagement based on documented examples in the field of novel vector control.

BackgroundDespite broad consensus on the importance of community and stakeholder engagement (CSE) for guiding the development, regulation, field testing, and deployment of emerging vector control technologies (such as genetically engineered insects), the types of activities pursued have varied widely, as have the outcomes. We looked to previous CSE efforts for clarity about appropriate methods and goals. Our analysis yielded a typology of CSE, and related vocabulary, that describes distinctions that funders, organizers, and scholars should make when proposing or evaluating CSE.MethodsWe compiled available formal documentation of CSE projects, starting with projects mentioned in interviews with 17 key informants. Major features of these examples, including the initiators, target groups, timing, goals, and methods were identified using qualitative coding. Based on these examples, subcategories were developed for a subset of features and applied to the identified cases of CSE in the documents. Co-occurrence of subcategorized features was examined for patterns.ResultsWe identified 14 documented examples CSE projects, which were comprised of 28 distinct CSE activities. We found no clear patterns with respect to timing. However, we found that grouping examples according to whether initiators or targets could enact the immediate desired outcome could help to clarify relationships between goals, methods, and targets.ConclusionBased on this analysis, we propose a typology that distinguishes three categories of CSE: engagement to inquire -where initiators are empowered to act on information collected through engagement with target groups; engagement to influence -where initiators engage to affect the actions of already-empowered target groups; and engagement to involve -where initiators engage to delegate authority to target groups. The proposed typology can serve as a guide for establishing the goals, identifying appropriate methods, and evaluating and reporting CSE projects by directing attention to important questions to be asked well before determining who to engage and how

Climate change instruction in higher education: Pre-service teachers’ engagement in an interdisciplinary pop-up learning community

An interdisciplinary pop-up learning community (PLC) allowed students from various disciplines with different levels of content knowledge to discuss their perspectives and beliefs on climate change. The impact of this event on students was gauged by a survey from the Yale Project on Climate Change Communication. Furthermore, this project focuses on pre-service teachers who participated in the PLC. In order to investigate how pre-service teachers understand climate change and how they may or may not integrate these issues into their own instruction, individual interviews were conducted prior to and after the PLC to determine if the event had an impact on the pre-service teachers’ beliefs on climate change. After attending the PLC, students now realize that climate change is an interdisciplinary topic and they can apply their general education skills when addressing climate change arguments. Pre-service teachers reflected on how they would bring environmental awareness into their own classrooms

The New Hampshire, Vol. 75, No. 04 (Sep. 18, 1984)

The student publication of the University of New Hampshire

Ubiquity

From its invention to the internet age, photography has been considered universal, pervasive, and omnipresent. This anthology of essays posits how the question of when photography came to be everywhere shapes our understanding of all manner of photographic media. Whether looking at a portrait image on the polished silver surface of the daguerreotype, or a viral image on the reflective glass of the smartphone, the experience of looking at photographs and thinking with photography is inseparable from the idea of ubiquity—that is, the apparent ability to be everywhere at once. While photography’s distribution across cultures today is undeniable, the insidious logics and pervasive myths that have governed its spread demand our critical attention, now more than ever

Modernism with a Human Face: Synthesis of Art and Architecture in Eastern Europe, 1954-1958

The \u27synthesis of the arts,\u27 which usually referred to the integration of murals, sculptures and reliefs into architecture, was a key aspect of art and architecture in many parts of the world during the 1950s, from Western Europe to Latin America. It was intended to \u27humanize\u27 the increasingly industrialized modern architecture, while providing art with a platform from which to act outside of the confines of museums and galleries, in the \u27real\u27 space of society. More importantly, the concept centered on the collaboration between people of different skills and backgrounds, such as artists, architects and craftspeople, who ought to form a cohesive creative community in order for synthesis to emerge. For this reason, the synthesis of the arts was often envisioned as a metaphor for the greater social order of the postwar period and thus, as will be argued here, became particularly prominent in periods of political transition. This dissertation focuses on such a time and place when the concept resurged: Post-Stalinist Eastern Europe, a time when both the aesthetics and politics of Stalinism had to be reformed in the hopes of attaining a \u27Communism with a Human Face.\u27 The synthesis of the arts was key to this process, as it allowed for different social visions to be tested in the delimited space of art and architecture before being applied to society as a whole. At the same time, the term\u27s instability and inherent vagueness allowed its continued usage throughout this transition, and within distinct contexts. It could refer to a wide range of things, from interior design to murals and sculptures integrated into modernist architecture, and from immersive, multi-media environments to historicist architecture featuring ornaments in ceramic and stone. Each model represented a different mode of artistic production, as well as a different vision for art\u27s role under socialism. The dissertation thus compares such visions of synthesis, as both a theoretical construct and a practical application, in three Eastern European countries: the Soviet Union, the undisputed political center of the bloc; its largest satellite, the People\u27s Republic of Poland, which experienced a swift and dramatic de-Stalinization and subsequently became a center for reformist thought; and finally, Yugoslavia, whose efforts at developing its own brand of socialism began to bear fruit at the time, when the country emerged as a non-aligned, third pole within the Cold War. This geographical span is counterbalanced by a sharply focused chronology that allows for a close examination of this paradigm shift. Beginning in 1954, when the first signs of aesthetic change can be discerned, it concludes in 1958, when the new, \u27socialist-modern\u27 mode of synthesis reached its apogee with the Eastern bloc pavilions at the Brussels World Fair. I argue that the synthesis of the arts constitutes a key element of reformist communist culture, a short-lived phase when a renewed faith in mass utopia was still possible, before the dissident culture of 1960s and 1970s Eastern Europe took hold. Still firmly inscribed within the official culture, the late-1950s practices examined here sought a difficult compromise between increasing art\u27s autonomy while preserving the social purpose assigned to it under communism

Little Village June/July 2012

https://ir.uiowa.edu/littlevillage/1114/thumbnail.jp